Dynamic Identities: An Analysis

PART

PART II:

PART III: Analysis

First

all

The idea of writing this book arose in the second half of 2014, when I was writing my Bachelor’s thesis. The intention behind this book is to shed light on the domain of dynamic identities, which, in my opinion, lacks important information in its literature. This is partly because it is a young field and the research has started in recent times (approximately at the beginning of the 21st century, also thanks to the advent of generative graphic design which fostered the development of the field). In the literature today we find a few books, and they are quite similar, in that they share the same methodological approach to the subject. The textbooks are more oriented towards a collection of case studies than to the definition of a classification criterion. We can find a cataloguing of case studies, by which dynamic identities are subdivided into a number of groups (1, 2, 3, 4, …) with no further subdivision into categories (A, B, C, D, …), as if there was a sole classification category that corresponds to the whole group of dynamic identities (A1, A2, A3, A4, …).

First, before I started to write this book, I have tried to subdivide the identities according to a sole classification, with the help of Eulero-Venn diagrams. However, after getting bogged down in several attempts, I realised

Note:

In addition to books, the literature also consists of publications and dissertations, which deepen the topic and increase the amount of information. However, almost all sources that propose a cataloguing process follow the logic of subdivision and not the classification system.

that looking at other systems of classification would have helped me figure out a more effective method. The animal kingdom inspired me and helped me through the definition of a new approach. I understood that I did not have to use the current approach and go with a new possible subdivision, but I had to observe the subject from a different point of view, instead. Therefore, I argue that a proper system of classification is needed, not a mere subdivision: a wide scope classification which considers several categories and sub-divides each of them into different groups.(A1, A2, A3, A4, A5; B1, B2, B3; C1, C2, C3, C4, … F3). In my opinion, since the world of identities is so wide, just like the animal kingdom, classifying identities into only one category (A1, A2, A3, … A6) is rather reductive. For example, if we compare dynamic identities to animals, it is easy to understand that only one kind of classification is not exhaustive. In fact, animals are classified into different categories. Based on what they eat (A), animals are divided into herbivorous (A1), carnivorous (A2) and omnivorous (A3). But, if other characteristics are observed (B, C, D), animals can be divided into: vertebrate (B1) and invertebrate (B2); viviparous (C1), ovoviviparous (C2) and oviparous (C3); with no limbs (D1), biped (D2), quadruped (D3), with 6 legs (D4), with 8 legs (D5), and so on. It is clear that, if we are observing such a wide world like animals, just as dynamic identities, a one-category classification is not the best solution, because it is a partial view of the whole domain. Due to a one-category classification system, it is usually the case that actual different categories are accidentally unified or a partial and faulty analysis is carried out. It is instead appropriate to consider separately different thematic areas: different brackets shall not be merged, in order to avoid limiting the scope

of the study or creating overlaying of different thematic areas. Returning to the parallelism with the animal kingdom, accordingly, it is clear that the subdivision ‘herbivores, carnivores, quadrupeds, invertebrates’ is indeed inaccurate.

In the light of the reflections above, in this book I will not propose a single classification, but a system of classification, in which every thematic area is treated separately. Moreover, based on the classification system, I will make an analysis of the graphic solutions of several case studies. First, I will illustrate the different categories of classification and I will define the groups in which each of them is divided into. Secondly, I will analyse each dynamic identity individually and, during the process, I will assign them to the proper group within the relevant category. This is a reverse process compared to the one currently adopted in the field of research. Instead of starting from the subdivisions and listing the relevant identities, the analysis of the identities is the first part of the process, followed by the definitions of the groups in which each identity is placed, for each category. If we return to the simile with animals, we will not start from the subdivision ‘herbivores’ and next start listing: sheep, cow, giraffe, etc. I suggest, instead, that once the categories of classification are defined (food, reproduction, etc.), we start from the animal and illustrate the groups to which it belongs. For example, concerning the ‘food’ category, the wolf is part of the group ‘carnivores’; concerning the category ‘reproduction’, the wolf is part of the group ‘viviparous animal’ instead, and so on. The approach to the analysis of categories presented above is brand new in the field of dynamic identities, just like the method by which the different aspects of dynamic identities are observed.

My change of perspective is not in contrast with the existing literature, it is just two different ways of dealing with a topic. The existing textbooks about dynamic identities are of considerable importance for graphic design students and branding enthusiasts. As a matter of fact, the literature currently available contains a vast and important series of case studies. What is more, since the information available in this field of research is limited, these books are a fundamental source. I believe that the present literature is useful as a collection of case studies, rather than as a theoretical source for what concerns classification criteria. As already mentioned, instead of collecting case studies, the purpose of this book is to suggest a criterion according to which we can catalog dynamic identities. My aim is exactly to develop a system by which we can reach an efficient and comprehensive classification. I will propose some case studies in Part III, as well. They are not the heart of the book, but the case studies are functional to a full understanding. Mostly, their functions are: to provide examples to readers, with the aim of making the classification system clearer; to become aware of the inversion of approach to the subject; to show samples of analysis. It is no coincidence that I use the term analysis: the graphic solutions are deeply scanned and their nature, their functioning, the logic behind the mutability of the elements, and the principles that underlie certain aesthetic and structural choices are examined.

For those who are not familiar with this topic, I will briefly summarise the main concepts. Visual identities are any graphic or communicative product that refers to and characterises a company or an institution. Dynamic identities are visual identities with some variable elements that help the identity to fit the company better. One of the most popular examples is Google. Google’s homepage shows some dynamic graphic solutions, called doodles, which starting from the logotype vary according to events or anniversaries based on the current date. Thus, simplifying, we may say that visual identities

are divided into static and dynamic. The static, standard, traditional or classic identities do not require any variable graphic component; while in dynamic identities the flexibility of certain visual elements is the core feature. In this book, I will treat only dynamic identities, so it is good to keep in mind that the whole domain is subordinated to a classification itself. Similarly, the classification of the animal kingdom can be considered subordinate to a larger one, since living beings split into animals and plants.

During the study of this classification system, I have set myself the goal of being as technical as possible. However, in the eyes of readers, the system may appear too rigid, as the various thematic elements are framed separately. It could be argued that a rigid frame is not appropriate for graphic design projects because they are highly creative and characterised by a transversal mixture of several elements. However, I believe that, in order to analyse and fully understand the characteristics of these projects, it would help to order dynamic identity projects in the most objective possible subdivision. This way, it is easier to see how they take shape, what their nature is, what their bases are. As a whole, this book aims to provide means to be able to analyse dynamic visual identities: in order to accomplish this task it is necessary to describe how to proceed, which classification system is to be adopted and how to articulate the analysis itself. I wish to have succeeded in this intent. One identity expresses in various ways and has different visual manifestations, therefore it has been very laborious to find a technical system that could reconcile the multidimensional variety of a visual identity with a rigid and overly technical classification. It is possible that the categories and groups that I have defined will not be suitable in the future, so they will have to be implemented or even revised. It is also possible that they will be criticised in the present. I do not believe that I have theorised the perfect classification system. I accept any kind of judgment. This is the result

of my ideas and my research and I wish to disclose it because I consider it a good result. I hope this book will be useful to graphic design students and branding enthusiasts and that the new approach presented will give more visibility to this topic. Going back to my intention, I deem it appropriate to add a consideration. I believe a designer’s task is to solve problems and provide – or better create – solutions. It is therefore necessary to be pragmatic and achieve a result which would be as complying as possible to requests received or objectives set. This unquestionably requires a preliminary theoretical approach, but without losing adherence to the practical instance of the issue; for this reason I tried to abstain from unproductive digressions and abstractions that would lead to lose concreteness. Way too often, in my opinion, designers are inclined toward indulging in pompous rhetoric, void of substance, or propose interpretations which are excessively abstract, whereas a designer’s function is to elaborate concrete responses and not to leave open questions. Before closing, one last clarification is due. This book is addressed to everyone, not only to students and enthusiasts. This is why, in Part I, I will briefly introduce the world of visual identity to non-expert readers. In Part II, which is the core of the book, I will describe the categories of classification and their relative groups. In Part III there is the analysis of samples of dynamic identities.

Variable elements

1.3.1 Characteristics of dynamic identities

Dynamic identities differ from standard identities in the fact that main visual products have variable graphic elements in addition to the fixed ones. These fixed elements are necessary to create coherence and recognisability. The variable graphic elements are not due to faults or inconsistencies during the design phase; on the contrary, they are chosen by the designer as the core of the project. These variable elements can be a mere game of shapes, colors or typographic features (Brooklyn Museum, City of Melbourne, or Visit Israel); or they can recall a specific theme (National Gallery Prague); or they can be linked to a programmed algorithm or code that creates solutions whose structure is defined a priori (MIT Media Lab). Again, after coding, they may correspond to an artificial impulse (Bologna City Branding), or objective data resulting from physical surveys (Visit Nordkyn). The stronger the link between the brand, its dynamic graphic products and the reason why they change, the greater the appreciation of users.

Users

The role of the user is very important for dynamic identities. In fact, users who are involved in one or more steps of the design of a visual identity will become fonder

Characteristics of dynamic identities

of the brand. The role of the user is a new aspect in the field of visual identities. In classic identities it does not exist; at most, the contest is the only way to actively involve users. In this case, however, a limited number of users (i.e. those with graphics skills) is engaged, but with no assurance that their work will be either included in the identity or merely published. In fact, there is only one contest winner and all other participants may feel excluded from the brand. Choosing a dynamic identity is a very effective solution to make all users feel protagonists, by letting them, for instance, create graphic products (Lesley Moore).

As mentioned above, programming is one of the possible characteristics of dynamic identities. Through the drafting of a code, the parameters that regulate flexible elements are defined: the work area, shapes, color palettes, fonts, and the fixed and mutable elements. These specifications recall the rules that are found in brand manuals, a further reason why in dynamic identities the brand manual takes a back seat. It does not mean that brand manuals disappear, but their function is revised, especially when graphic products are independently managed by the software. Furthermore, the division between the hard and the soft pole can also apply to dynamic identities, and it is not only referred to the centrality and the inflexibility (or not) of the manual. In fact, this distinction can also relate to the rigidity of flexible aspects: identities such as Lesley Moore, Nikolaj Kunsthal, Aol, and OCAD University could be considered less rigid than Visit Nordkyn, Muza, Odoo Project and Brooklyn Museum, regardless of whether they are generative identities or not. In fact, the visible changes in the different graphic solutions of Visit Nordkyn (generative identity) and Brooklyn Museum (ordinary) are much more controllable and predictable than those of Lesley Moore (generative) or Aol (ordinary). In these last two cases the final form of the graphic solutions is unpredictable, but it is not

Programming and flexibility

Dynamism and motion

random. Leaving room for the free creativity of users and designers is indicative of openness, of a new vision of brand identity, but not of chaos and indeterminacy. The factors that create coherence guarantee an effective, meaningful and not arbitrary result.

By reading the expression dynamic identities, the less experienced reader could associate dynamism with motion, and therefore imagine that some elements move. It is necessary to clarify that flexible identities are designed on the base of a dynamic system. It defines both fixed and changeable elements. So dynamism manifests itself in different ways. We may deal with a unique solution that actually moves (Visit Nordkyn) or gives the impression of movement (RUFA), or with several variants of the same static graphic product, which does not move (Móra Publishing House), that is different ‘still’ graphic solutions, one different from the other, potentially animated into gifs (Brooklyn Museum). Nowadays the screen allows us to perceive the dynamism not only through single different static graphic solutions but also through animations (Cumulus Park, Westinghouse, Amplifon, Google). Motion graphics plays an important role, and some graphic studios also talk about motion identities to indicate those with animation in most touchpoints. Though, animation presence is not a necessary feature for dynamic identities, and its possible occurrence does not automatically assign the dynamic quality to an identity. Therefore dynamic identities should not be confused with animations concerning, for instance, logos. Among the graphic communication products that make up the identity (also static), we may also find animations that relate to the mark. A dynamic system is much more than a mere movement. It is a series of variable elements that provide flexibility and uniquely characterise the graphic products that constitute the core of the identity. On the contrary, classic brand identities are integrally defined by static graphic products, even if sometimes the mark

Characteristics of dynamic identities

can be partially displayed in motion. In these cases, the animation of the logo is only an additional attribute, an effective and attractive graphic element, often used in television commercials, such as Toyota, where the circles of the logo are composed of an animation. Or Tate’s new mark – designed by North in 2016 – where many small circles moving randomly finally gather forming Tate logotype. These cases are not dynamic identities. In other cases, within a classic identity it is possible to find static graphic products that are slightly different from each other. These are usually small optical corrections, generally designed for reduced legibility issues; this does not make an identity dynamic. Therefore, the nature of the project must be carefully analysed: if there is no dynamic system that regulates the graphic outputs, then we have a traditional visual identity; on the other hand, if there is a dynamic system, it functions as the basis for the creation of a flexible identity and constitutes its backbone.

Definitions

1.3.2 Generative graphic design meets the brand identity

To better understand what we mean when we talk about “generative dynamic identities”, this subchapter will try to shed light on generative graphics and, more generally, generative art. In its narrower conception generative art can be defined as an art mediated by a process which uses a specific programming language, thus the final result is automated by software. Of course, this is only a partial definition, as the term “generative” is broad and includes various aspects.

For this purpose, two quotations are reported below: “Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematics or pragmatic instructions to define the rules by which such artworks are executed.”

Adrian Ward17

“Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art.”

Philip Galanter

1.3.2

Generative graphic design meets the brand identity

17. Adrian Ward (1976), is an English musician and software artist.

Galanter does not restrict the field to digital art because he knows that any kind of art expression (music, graphics, architecture, etc.) refers to specific languages, rules, systems, canons, and procedures; artists define a system a priori, through which they give life to one or more artistic solutions. Regardless of that, Kristine Ploug and Thomas Petersen18 are aware of the digital meaning of generative art: “In its digital form, generative art is constructed from programmed algorithms, which determine the path of a piece; in some cases the pieces are autonomous to a degree that they seem alive”. In its widest sense, instead, we could also consider as generative art a work that comes from a generative idea (Condensation Cube, generative work of Hans Haacke built in 1965). In fact, generative art in the broad sense has existed long before the advent of computers, but we would risk overstretching an already complex and wide-ranging definition. As stated by Philip Galanter, in fact: “It is important to note here that if the generative art also included art produced by any kind of generating idea, then generative art would include all art, and it would lose its utility as a distinct term”. Generative graphics in the strict sense is a ‘new’ discipline and falls within the software art, as it is impossible to obtain graphic products governed by algorithms that are not controlled and executed by a computer.

In this book, we will only consider generative graphic design in its strict sense (digital form), the one governed by a process and characterised by data processing, which uses a programming language and is based on programmable software. Today, graphics is almost totally digital, but there is a difference between an ordinary and a generative approach. In the first case, the designers use software (such as Illustrator, Photoshop, etc.) as a tool that digitises an analogical operation (it reproduces the same work that was once done by hand). In the second case, the designers express themselves indirectly: they need to know a programming language through which they write a code or an algorithm that

Generative graphics

18. Kristine Ploug and Thomas Petersen, editors at Artificial.dk

Branding and generative graphics

is converted into graphic products by the software. In a nutshell, the software is programmed, and the computer generates a more or less automated graphic result. In fact, the software can generate visual solutions fully autonomously or by subsequent manual input. Therefore, the artistic expression is twofold: both graphic skills and IT skills are necessary to obtain a pleasant graphic product.

Generative graphic design is a discipline in its own right, but it could not but join the world of the branding. In particular, in most cases we are dealing with applications that are created ad hoc for the identity we want to create. Through the programming language, new digital environments are created, in which the process of generation of the desired graphic products takes place. These new environments can be defined as tools for the designing of generative graphic solutions. It should be remembered that vvvv, one of the open source software mentioned above, defines itself as “a multipurpose toolkit”. However, we also find hybrid software with additional functions that can be programmed and are able to work independently. This is the case of some video editing software, which, in addition to the ordinary functions, also have the programmable ones, through which you can generate graphic products starting from external or pre-set inputs. In these cases, looking at the software used is not enough; the dynamics of the operation at the basis of the different graphic solutions must be understood. The functions that allow to transform or convert into graphic solutions some real external impulses (such as the decibels for Amplifon, whose graphic solutions are designed in After Effects) are to be considered as part of a generative system. In fact, one of the keywords of generative art is the process. In a conversion of the sound pulses, the mediation of the process is essential, therefore this project is to be considered generative, even if no code has been written. Consequently, one might think that it is more correct to

Generative graphic design meets the brand identity

speak of permutative rather than generative graphics since a permutation – and not a generation – takes place. However, the term “generative” does not only refer to the generation of graphic products ex novo, but also starting from real data that are transformed into graphic solutions. If the permutation process is performed by the software – in a more or less autonomous way – then it is a generative process. Similarly, looking at a vvvv patch with no code strings (usually expected from a generative graphics software), one might think that no programming was needed. On the contrary, programming is necessary. It is made of nodes and interconnection lines, but it is only a particular interface, as the name of the functions must be written, the spreads (arrays) defined, and so on, just like in all the other software that are programmable through the drafting of a code (for example Processing).

Generative graphics has introduced a new element within the branding: the logo generator. It is a sort of digital platform programmed by the designer through which the software creates graphic products autonomously or thanks to pulses, entered manually or coming from external software and hardware (online data, sensors, controllers, etc.). In other words, the logo generator works within a control environment in which users (Bologna City Branding) or designers (Visit Nordkyn) are able to manage or interact with the final result. This type of interaction no longer requires any programming, nor the writing of algorithms or code strings with specific languages. Of course, the logo generator must be programmed initially through a language, but, in the second phase, it can be used intuitively. There could be the possibility of changing certain parameters (Pay.UK), inserting a variable input (Casa da Música), choosing a graphic solution (Evolving Logo) – or part of it (Visit Israel) –, or even creating one from scratch (Lesley Moore). The functions just mentioned can be easily used without programming.

Logo generator

Personalisation and expression of phenomenal reality

Especially when we have a logo generator, two interesting aspects stand out in the generative graphic design applied to visual identities. First of all, the logo can be used as a personalisation element: the generative graphics allow the autonomous creation of a very large number of personal logos which can be assigned (EPFL Alumni Association), or chosen (MIT Media Lab) by users, so that everyone has his own personal logo. Secondly, the graphic product can be an expression of phenomenal reality. The programmed tools can be used together with software for data collection, sensors, or external information. In this way, visual solutions are generated automatically and they do not depend on arbitrary parameters, but rather reflect a real, objective situation, given by phenomenal reality (intended as physical, objective reality, without any philosophical meaning). In fact, some dynamic identities are characterised precisely by their proximity to the physical, urban or natural context. They are linked to what is accomplished, manifested, actually happens. In some cases, this link is achieved through ordinary techniques (perspective views of Casa da Musica), but in most cases they are generative identities whose parameters vary according to the detection of certain conditions at different times. The surveys can concern the weather (Visit Nordkyn), the sounds (Oi), the number of people present in a place (Media Citymark) or on a website (My Tech Campus), etc.

Additional features 1.3.2

According to different processes, logo generators create logos that are different from one another, but in some way linked to each other. The change may depend on random systems (EPFL Alumni Association) or external parameters coming from objective surveys of phenomenal reality (RUFA) or the type of input provided. The input can be for example textual (Bologna City Branding), photographic (Seed Media Group) or graphic (Processing Community Day). However, when the generative graphics is not used for the creation of logos

Generative graphic design meets the brand identity

or logotypes, it should be more appropriate to speak only of generative graphics and not of logo generators. In fact, in some cases, the graphics obtained by the software are used for graphic products essential for the identity, but not specifically for the mark. Three examples are Poetry on the Road, Oylo and Actelion Imagery Wizard (which is not called Actelion Logo Generator). Here, the graphic products generated do not constitute the logo, which is represented by a defined mark. Obviously, generative graphics and generative art also exist besides visual identities; they do not necessarily have to be related to a brand.

Generative graphic design meets the brand identity

Part III: Analysis

In this book, in addition to a new classification system, the analysis of dynamic identities is also explained: in particular, what creates dynamism, i.e. the core of identity, is analysed. The analysis consists of examining the various dynamic graphic solutions and describing their differences, the changing aspects, what causes the variations, how they are controlled, what is defined, what is not, what techniques are used to create the graphic products, how users are involved, and the temporal extent of the project. In other words, in the third and final part of this book, the dynamic identities examined as case studies will be attributed to the relevant groups for each classification category. The classification system and the analysis are interdependent and the analysis is aimed precisely at classifying the visual identities. It is a true scan, in which every piece of information necessary to perform correct cataloging and to better understand every detail of the dynamic identity in question is specified. This third part is divided into twenty-seven chapters, one for each flexible identity examined, introduced by a simple and intuitive table, which provides an immediate means of knowing how the identity in question is classified. Furthermore, a brief

introductory description – flanked by images provided directly by the design agencies – also allows a better understanding of the analysis itself, supplemented by the motivations based on which the identity is attributed to each group.

The choice of case studies has fallen both on visual identities that have not yet been examined in the literature, and on those that are already known, familiar to most designers. The aim of this book is not to show new identities and describe them for the first time, but to simplify the assimilation of the proposed classification system. Thus, it is worth examining and analysing not only the recently released identities but also those that are already familiar to most, well-known projects whose peculiarities are widely known. In this way, those who have to deal with classification will be able to quickly understand its fundamentals, and will subsequently be able to independently classify all dynamic visual identities, even those that will be designed in the future. Furthermore, the case studies analysed in the following chapters have been chosen in such a way that for each group of each category there are at least four visual identities, to illustrate directly all the different scenarios and to familiarise as fully as possible every aspect of the classification system. An attempt was also made, as far as possible, to balance the number of generative identities with the number of ordinary ones, even if the former exceeds the latter. Another criterion followed for the choice of these case studies was the desire to show directly – and therefore to make the reader better understand – how in some cases there are borderline situations, where the boundary between belonging to one group rather than another is very thin and not always easy to discern. In addition, this book wants to illustrate case studies that belong to two or more groups of the same category of classification, as not always the attribution to a group is univocal. Let it be clear, those described are not all complex identities to be cataloged,

Case studies

but it has been considered opportune to submit to the reader’s attention also some cases of this kind, to make them more aware of the complexities they might have to face in case they will analyse other identities autonomously in the future. For those who want to try to analyse and classify dynamic identities, it should be pointed out that a possible improper assignment of an identity to a group instead of another one does not compromise the classification system at all, just as an error during the grammatical analysis does not compromise the Italian grammar and its rules. The study of the visual identities passed through the first phase of research among the pages of the literature, on the websites of graphic studios, and more generally online. The second phase, on the other hand, involved direct contact with the various graphic design studios, with the individual designers, or with the organisations that adopted the identities in question. However, not in all cases was there the possibility to clarify every single aspect of the identity; therefore, it is possible that the functioning of certain mechanisms of some identities was left out, or may differ to a greater or lesser extent from what emerged during the research phase. In addition, it was decided to sort the analysed identities by year, in chronological order; some of them are dated – for the reasons written above –, others more recent. It is possible that some of the case studies examined were replaced with another visual identity after a restyling or redesign, or that the projects were never adopted by the institution for which they were designed, or that the institutions have been absorbed by others, or that they are graduation projects. There is also the possibility that in the time between the last revision of the book and its publication, something may have changed, and therefore some of the features described or links indicated in the following chapters may no longer be found on the web. In fact, during the years of writing this book, a significant amount of online content has disappeared, specially that concerning tools and logo generators available to users.

In conclusion, before moving on to the analysis of the case studies, I would like to express my sincere thanks to all the graphic studios, independent designers, and organisations that replied to the emails sent to them, for their valuable collaboration.

Analysis of visual dynamic identities

Research of design information about the case study

Detection of graphic products that constitute the core of the identity (for example mark, patterns...)

Examination of aesthetic aspects of different visual solutions

Examination of technical aspects of different visual solutions

Design Agencies: onformative, Interbrand

Client: Actelion Pharmaceuticals Ltd

Year: 2011 Link:

3.9 Actelion Imagery Wizard

This project, designed by onformative in 2011, aimed to give new visibility to Actelion, a biopharmaceutical company active in the research, development, and marketing of medicines for diseases that still lack adequate treatments. Actelion wanted a new visual identity without modifying the mark, creating something that the pharmaceutical world had not seen before; the concept is summed up by the sentence: “From medical industry to medical magic”, and the final result effectively reflects the premise. The project was commissioned to Interbrand Zurich, the artistic direction entrusted to Julia Laub and Cedric Kiefer (Co-founders of onformative), and the code implementation to Hartmut Bohnacker (Interaction Designer). In collaboration with Interbrand, onformative has developed a tool programmed in Processing that enables the generation of visual solutions starting from images. These images are transformed into illustrations composed of points, segments, and curves: in this way, the visual solutions are made up of units representing ‘digital molecules’, giving them that touch of ‘magic’ that is mentioned in the concept. Once the image has been uploaded to the software and transformed into an illustration, it is

https://onformative.com/work/actelion-imagery-wizard

3.9 Actelion Imagery Wizard

possible to make manual adjustments to the graphic elements using controllers in the tool’s settings. It is also possible to export the various graphic solutions in vector format, create animations, and implement the tool’s features, thanks to its modular nature. The visual outputs that distinguish this identity can be seen, among other applications, in the Actelion’s Annual Report. This project was presented by the jury as “Best relaunch of a corporate design” at the Corporate Design Prize award ceremony in 2011; in the same year, it received the Red Dot Design Award.

Defined Structure – Undefined Shape

This case study is a clear example of how visual identities can develop around graphic products that have nothing to do with the mark. The overall shape of graphic solutions is not predictable a priori, as it depends on the images uploaded to the tool (Undefined Shape). However, these images are transformed into illustrations made up of points, segments, and curves. So, it is possible to find a defined structure, constituted by these signs, modules, or units: the so-called ‘digital molecules’.

Shape – Color

The shape of the generated outputs is changeable, and there is no typography. The color of the graphic elements making up the units (lines and points) is changeable, even if in most cases the negative version (inverted colors) is used, so it is the background color that varies, while the ‘digital molecules’ are white. Therefore, in this case, the background is an integral part of the dynamic system, and characterises the visual representations; it is a full-fledged graphic element, unlike the cases (for example Brooklyn Museum) where the different colored backgrounds constitute only the different applications or supports on which the graphic solutions can be used.

Subjective – Random – Artificial Input

The variant of the shape depends directly on an input,

Credits: Images courtesy of: onformative

i.e. the image that is inserted onto the tool by Actelion’s designers; they are also responsible for the choice of photographs and for the graphic adjustments made available by the tool itself. In addition, the permutation of the input provided by the programmed software also involves random parameters. Consequently, the subjective and random components also affect the shape of the graphic solutions; the origin of color variants, on the other hand, lies entirely in the subjective tastes of the designers.

Generative

The graphic solutions are generated thanks to a tool programmed in Processing. The coded tool can transform photographic images into illustrations composed of points and lines; moreover, it allows additional graphic adjustments.

No Role

The tool is exclusively available to Actelion’s designers, therefore users have no role in the design of visual outputs, nor in the choice of images to be uploaded on the software.

Subsequently Released Solutions

The visual outputs are produced every time Actelion’s designers need new graphic solutions, so they are created and released from time to time.

Note:

In 2017, Johnson & Johnson acquired Actelion, resulting in the actelion.com website and related graphic products being no longer visible online.

Design Agency: Pentagram Design (London Studio)

Client: Battersea

Year: 2018

3.23 Battersea

Battersea is a London-based nonprofit charity that cares for all dogs and cats that arrive on its doorstep, providing them with shelter, care, and finding them new homes. “Pentagram worked closely with the charity to develop a brand strategy, tone of voice and visual identity that presents Battersea as both a compassionate caregiver and a leading authority in animal welfare, creating a brand that strikes a balance between warmth and expertise, putting the charity’s multi-faceted offering at the centre of its story” (Pentagram). Fully reflecting the spirit, expertise, and multi-facets of Battersea, the visual identity designed by Pentagram in 2018 could only be dynamic. Its core is a flexible mark made up of ten logos: a ‘family’ of dogs and cats has been designed consisting of ten different hand-drawn watercolor illustrations. The watercolor technique is intended to reveal the warm and charitable side of Battersea, balanced by a Franklin Gothic logotype which, instead, shows its authoritative side; the payoff “Here for every dog and cat” demonstrates both. “Retaining Battersea’s signature blue, the watercolours – made up of five dogs and five cats – are used in varying combinations, giving Battersea the flexibility to tell a rich and diverse story across all of its platforms” (Pentagram).

Links:

https://www.pentagram.com/work/battersea/story

https://www.battersea.org.uk/

3.23 Battersea

This case study is particularly interesting, as it was born with the idea of exploiting dynamism to further implementation in the future when visually designing public-facing programs or fundraising initiatives. Examples of that are “Muddy Dog”, a fundraising campaign with a strong communicative impact, and “Battersea Best Friend”, a membership program that aims to raise awareness of the need for people to take better care of their pets. On the Pentagram website, they are defined respectively as “A playful spin on the master identity” and “A playful extension of the master identity”. They are composed of a series of visual products with different graphic characteristics compared to the main identity, but with a strong reference to it. In both projects, in addition to Franklin Gothic, Battersea Paws, a handdrawn typeface created by Pentagram, is also used. It reflects the joyful spirit Battersea wishes to convey. In cases like this, only the main identity is analysed, as the graphic products of the programs or initiatives are subordinate to it.

Variable Defined Shapes

The core of the visual identity is the mark. It consists of the Battersea logotype and a total of ten ‘pet’ logos. They are five cats and five dogs, whose heads are represented by a blue watercolor stain, while their ears, muzzle, and whiskers by black strokes. Each stain and each stroke differs from one visual solution to another, creating a series of dynamic logos defined in the design phase.

Shape

The shape is changeable, the color is fixed, the typography is fixed. Each logo has a different shape, while the color, as well as the logotype (typography), is unchanging. Being made with the watercolor technique, the shades of blue are not perfectly identical in all visual solutions. However, this slight diversity is not considered as a variant.

Designers involved:

Project team: Hamlet Auyeung, Ashley Johnson, Zuleika Sedgley, Stuart Gough, Kate Blewett, Cleber de Campos, Lizzie Reid, Ian Osborne, Megan Conery, Marta Gaspar, Jake Clewis, Marion Bisserier, Beatriz Camargo.

Collaborators: Hiromi Suzuki, illustrator; Patrick Giasson, typographer; Jess Bonham, photographer; Liz Seabrook, photographer; Theron Humphrey, photographer.

DESIGN TECHNIQUES

Subjective

The variant of the shape does not depend on any objective variable. The different visual representations of dogs and cats were designed based on the creative impulse of Pentagram’s designers.

Ordinary

The logos are made through ordinary techniques. No code has been written for the generation of variants of the mark.

Credits:

VARIABLES TIME

USER’S ROLE

No Role

The user is the recipient of the message conveyed by the graphic products; users have no role in the choice or design of the different logos.

Priorly Released Solutions

The ten logos were created and released in conjunction with the launch of the identity. No further visual variations are planned to be released. Campaigns or programs launched subsequently, such as Muddy Dog and Battersea Best Friend, do not add variants to the logo but are considered secondary graphic products compared to those that make up the core of the visual identity.

Images courtesy of: Pentagram

References

Below is an ordered list of the resources and materials used for the writing of Part I, along with additional material to go further into the subject. Paper sources will be shown first, followed by multimedia ones (last visited in September 2021).

- Bibliography:

Airey, David. (2010). Logo design love: A guide to creating iconic brand identities. California, USA New Riders. Barbato, Andrea & Barbato, Davide & Stefanoni, Alessandro. (2015). Identità dinamica: Tra metodo e pensiero laterale. Italy Libreriauniversitaria.it Editore.

Bohnacker, Hartmut & Gross, Benedikt & Laub, Julia. (2009). Generative Gestaltung: Entwerfen. Programmieren. Visualisieren. (Generative Design: Visualize, Program, and Create with Processing). Germany Schmidt Hermann Verlag.

Chiappini, Cristina & Cioffi, Andrea. (2006). Identità cinetiche. Alcune case history di sistemi visivi variabili. “Progetto Grafico”, n.9, dicembre, Aiap, pp. 96-108.

Chiappini, Cristina & Sfligiotti, Silvia. (2010). Open projects. Des identités non standard. France Pyramyd.

Corraini, Pietro & Caprioli, Stefano. (2008). Manuale di immagine non coordinata. Italy. Corraini.

Dopress Books. (2013). Dynamic Logo. UK Cypi Press.

Felsing, Ulrike. (2010). Dynamic identities in cultural and public contexts. Switzerland Lars Müller Publishers. Russo, Dario. (2006). Free Graphics. La grafica fuori dalle regole nell’era digitale. Italy Lupetti.

Shaoqiang, Wang. (2015). Logograma. Logo design for dynamic identities. China Promopress.

Van Nes, Irene. (2012). Dynamic Identities. How to create a living brand. Netherlands BIS Publishers.

- Linkography:

Bell, Nick. (2006). Notes on identity design.

http://www.eyemagazine.com/opinion/article/footnotes-about-identity-web-only

Chaves, Pedro & Cunha, João & Martins, Tiago & Bicker, Joao. (2019). Flexibility in Dynamic Visual Identities: Exploring Variation Mechanisms to achieve Flexibility.

https://www.researchgate.net/publication/337275693_Flexibility_in_Dynamic_Visual_Identities_ Exploring_Variation_Mechanisms_to_achieve_Flexibility

Cox, Oliver. (2014). Are flexible identities the future of identity design?. Birmingham Insitute of Art & Design. https://issuu.com/olliecox/docs/dissertation

Galanter, Philip. (2003). What is Generative Art? Complexity Theory as a Context for Art Theory. GA2003 Papers, VI Generative Art International Conference.

https://www.generativeart.com/

http://www.philipgalanter.com/downloads/ga2003_paper.pdf

Gough, Michael. (2015). What next for flexible brand identities.

https://www.linkedin.com/pulse/what-next-flexible-brand-identities-michael-gough/?trk=prof-post& trkSplashRedir=true&forceNoSplash=true

Guida, Francesco Ermanno. (2014). Dynamic identities for the Cultural Heritage. C. Gambardella (ed.), “Best practices in heritage conservation and management. From the world to Pompeii”, proceeding of the international conference “Le vie dei Mercanti. XII Forum internazionale di studi”.

https://www.academia.edu/7552825/Dynamic_identities_for_the_Cultural_Heritage

Guida, Francesco Ermanno. (2014). Generative Visual Identities. New Scenarios in Corporate Identity. GA2014 Papers, XVII Generative Art International Conference.

https://www.generativeart.com/GA2014papers/Francesco_E_Guida_2014.pdf

Guida, Francesco Ermanno & Voltaggio, Ernesto. (2016). Programming Visual Representations. Evolutions of Visual Identities between Tangible and Intangible. Systems & Design, Beyond Processes and Thinking. 6th International Forum of Design as a Process. Valencia, Spain.

https://www.academia.edu/29411164/Programming_Visual_Representations_Evolutions_of_Visual_ Identities_between_Tangible_and_Intangible

Helfand, Jessica. (2016). Logocentrism. Originally published in “The New Republic”, December 29, 1997.

https://designobserver.com/feature/logocentrism/38552/

Hewitt, Jon. (2008). Flexible Consistency, Consistent Flexibility. Speak up. https://www.underconsideration.com/speakup/archives/004431.html

Hollington, Stuart. (2011). Flexible Visual Identity Systems. MA in Communication Design (Graphic Design).

https://issuu.com/stumacs/docs/stuart_hollington-flexible_visual_identity_manualJochum, Emanuel. (2013). Dynamic Branding Thesis. Zurich University of the Arts, Master of Arts ZFH in Design.

https://issuu.com/emanueljochum/docs/jochum_emanuel_thesis_final_may2013

Lapetino, Tim & Adam, Jason. (2011). The future is fluid: inside dynamic logos. Zeroside.

http://www.hexanine.com/zeroside/the-future-is-fluid-inside-dynamic-logos/

Lelis, C. & Kreutz, E. A. (2019). Narrative dimensions for the design of contemporary visual identities, International Association of Societies of Design Research Conference 2019 (IASDR), Manchester School of Art, 2-5 September 2019, Manchester.

https://www.academia.edu/40822259/Narrative_dimensions_for_the_design_of_contemporary_ visual_identities

Marriott, James. (2011). Could The Adoption of Flexible Identity Systems by some Contemporary Designers Have Any Enduring Influence on the Field of Brand Identity Design?. Investigative Study. Arts University College Bournemouth.

https://www.pdf-archive.com/2011/04/19/investigative-study/investigative-study.pdf

Martins, Tiago & Cunha, João & Bicker, Joao & Machado, Penousal. (2019). Dynamic Visual Identities: From a Survey of the State-Of-The-Art to a Model of Features and Mechanisms. Visible Language. 53. 4-35.

https://www.researchgate.net/publication/333729365_Dynamic_Visual_Identities_From_a_Survey_of_ the_State-Of-The-Art_to_a_Model_of_Features_and_Mechanisms

Murdock, J. E. (2016). Fluid identity: History & Practice of Dynamic Visual Identity Design [Master’s thesis, Kent State University]. OhioLINK Electronic Theses and Dissertations Center.

http://rave.ohiolink.edu/etdc/view?acc_num=kent1480096180818074

Pearson, Lisa. (2008). How Fluid Trade Marks Can Enhance your Brand. Managing Intellectual Property.

https://www.kilpatricktownsend.com/~/media/Files/articles/HowFluidTradeMarksCanEnhance YourBrand.ashx

Pearson, Lisa. (2013). Fluid Marks 2.0: Protecting a Dynamic Brand. Managing Intellectual Property.

https://www.kilpatricktownsend.com/~/media/Files/articles/2013/Fluid%20Marks%2020%20 Protecting%20a%20Dynamic%20Brand.ashx

Pearson, Lisa & Welsh, Jared S. (2013). Fluid Trademarks: Dynamic Brand Identities for Dynamic Times. Association of Corporate Counsel, Resource Library. USA.

https://www.acc.com/resource-library/fluid-trademarks-dynamic-brand-identities-dynamic-times

Ploug, Kristine & Petersen, Thomas. (2004). ‘Generative art is as old as art’. An interview with Philip Galanter. Artificial.dk.

http://www.artificial.dk/articles/galanter.htm

Ploug, Kristine & Petersen, Thomas. (2004). Special: Generative art. Artificial.dk.

http://www.artificial.dk/articles/generativespecial.htm

Ploug, K. & Petersen, T. (2005). Generative Art Now. An Interview with Marius Watz. Artificial.dk. http://www.artificial.dk/articles/watz.htm

Rawsthorn, Alice. (2007). The new corporate logo: Dynamic and changeable are all the rage. New York Times. https://www.nytimes.com/2007/02/11/style/11iht-design12.html

Salmeron, Jose Martinez. (2013). If You Love Your Brand, Set It Free. Smashing Magazine. https://www.smashingmagazine.com/2013/02/if-you-love-your-brand-set-it-free/ Secolo, Christopher. (2011). Identità dinamiche. Nuove metodologie progettuali dell’immagine coordinata. Università Iuav di Venezia, Facoltà di Design e Arti.

https://issuu.com/secolo3/docs/identita_dinamiche_christopher_secolo

http://www.aiap.it

https://www.artlebedev.com/ironov/ https://brandemia.org/

https://www.creativeboom.com/

https://www.creativereview.co.uk/

https://www.designweek.co.uk

https://www.fastcompany.com/ https://www.itsnicethat.com

http://www.joeharrison.co.uk/projects/responsivelogos https://www.logodesignlove.com/logos-are-dead https://the-brandidentity.com/

https://www.underconsideration.com/brandnew/ References

“Since 2014, I have been conducting research into dynamic visual identities, with the intention of writing a book that could bring order to this poorly developed subject, especially with regard to the aspect of cataloguing, which in literature has been too often reduced to a simple subdivision. In this illustrated essay you will find a reverse approach to the study of dynamic identities, which renovates those adopted so far and which resulted in the definition of a real classification system. Complementary to this, a method of analysis of dynamic identities is proposed, allowing both a precise cataloguing and the discovery of the fundamental aspects of the visual projects of dynamic identities. My aim is not to propose a roundup of the most recent projects, as is mainly the case in literature. Consequently, in addition to more recent case studies, I have deliberately chosen to analyse older projects that are already known to practitioners, so that the content of the book can be better understood. To that extent, graphic studios, designers or companies have been involved in order to enhance the analysis process, and provided their project’s images.” Sergio Corini

“Since 2014, I have been conducting research into dynamic visual identities, with the intention of writing a book that could bring order to this poorly developed subject, especially with regard to the aspect of cataloguing, which in literature has been too often reduced to a simple subdivision. In this illustrated essay you will find a reverse approach to the study of dynamic identities, which renovates those adopted so far and which resulted in the definition of a real classification system. Complementary to this, a method of analysis of dynamic identities is proposed, allowing both a precise cataloguing and the discovery of the fundamental aspects of the visual projects of dynamic identities. My aim is not to propose a roundup of the most recent projects, as is mainly the case in literature. Consequently, in addition to more recent case studies, I have deliberately chosen to analyse older projects that are already known to practitioners, so that the content of the book can be better understood. To that extent, graphic studios, designers or companies have been involved in order to enhance the analysis process, and provided their project’s images.”

“Since 2014, I have been conducting research into dynamic visual identities, with the intention of writing a book that could bring order to this poorly developed subject, especially with regard to the aspect of cataloguing, which in literature has been too often reduced to a simple subdivision. In this illustrated essay you will find a reverse approach to the study of dynamic identities, which renovates those adopted so far and which resulted in the definition of a real classification system. Complementary to this, a method of analysis of dynamic identities is proposed, allowing both a precise cataloguing and the discovery of the fundamental aspects of the visual projects of dynamic identities. My aim is not to propose a roundup of the most recent projects, as is mainly the case in literature. Consequently, in addition to more recent case studies, I have deliberately chosen to analyse older projects that are already known to practitioners, so that the content of the book can be better understood. To that extent, graphic studios, designers or companies have been involved in order to enhance the analysis process, and provided their project’s images.”

Sergio Corini

Sergio Corini

35,00

€ 35,00